I entered this world, just like any of us.
Held by the nurse, then by the doctor, my unstoppable tears created a major fuss.
But I guess I’d presumed.
Instead, my tears got people happy, as they jumped around shouting- ‘It’s a boy, it’s a boy’
Scared and baffled, I wondered where I was,
The smiles agitated me, really wanted to break a few of those jaws.
So many faces glared at me, I pondered how I got in here?
Couldn’t even speak, so I just weeped.
But to my surprise, this really weak looking woman who was on the hospital bed, she made me feel better. Yes, even she was weeping.
I finally felt good, at least someone’s not making fun of my tears.
My tears got her worried, even though we’d met just two minutes back.
She forgot her tears, her weakness, her pain
It bothered me,
I wanted her to explain.
Then I noticed a smile on her face, as her tear dropped near my left cheek,
I don’t know why, but it felt like a blissful rain droplet.
I couldn’t weep any longer, I ended up smiling.
Her smile widened, as she kissed my forehead,
I knew who she was, even though everything remained unsaid.
She was the one, who’s always gonna defend,
She was the one, who’s never gonna pretend,
The new found relationship, I knew would transcend,
She was my mother, my very first best-friend.
Happy Mother’s Day to all the mothers out there, but most of all,
Happy Mother’s to my mother, who’s really the most important person in my life.
My pillar, my strength, my friend, my complaint box, my speed dial, my chef, my agony aunt, my love and basically, my everything.
Sometimes I fight with you for no reason and that’s just because I love irritating you.
Love you way too much.
Margarita With A Straw is neither an intelligent film, nor a thought provoking film. It never even tries to educate us about cerebral palsy and it never sympathises with the protagonist-Laila Kapoor, played by the gifted and really special artist Kalki Koechlin.
A few minutes into the film and you forget Laila’s on the wheelchair. She’s just like any other teenager, she wants to explore life, irrespective of her disability or the perceptions around her. The director Shonali Bose who has also written the film deserves a standing ovation for keeping each and every moment real, for being fearless and true to her vision, as it really isn’t easy to pull something like this off, especially in an over emotional country like ours.
Laila is just another curious teenager who masturbates, writes songs for her college band, hooks up, travels to New York to live her dream and even discovers her sexuality. She’s fearless and unapologetic about everything in the world. She isn’t perfect and makes a lot of mistakes, just like any of us. That’s where Bose wins again.
MWAS isn’t just about Laila, it’s also about Laila and her mother’s beautiful relationship and Revathi’s nuanced performance will be remembered for years to come. She’s always there for Laila, giving her the strength and the courage to live life without any regrets, but at the same time she gets awkward when Laila tells her that she likes a guy in college. The characters have been structured beautifully and all the credit goes to the writers, that’s how most of the middle class families are.
Bose dealt with a lot of complexities in this film and keeping our conservative society in mind, it could’ve gone either ways and could’ve looked gross as well, but not even for a moment do you fall out of it. You’ll be smiling through the entire film, until the climax when you’ll have tears in your eyes. Laila is so cute that no matter who you are, you’ll end up falling in love with her. The ‘bi’ confession is the cutest and the most innocently captured moments you’ll see on screen and again, the writers deserve some serious gunshots-Respect!
Talking about the technical aspects: The camerawork compliments the film brilliantly, the background score and music too, fits in really well.
The casting is this film’s biggest high and each and every actor’s perfect.
But for me the film solely belonged to Sayani Gupta, Revathi and the majestic Kalki Koechlin.
No one could’ve pulled it off, except Kalki and I can say that with full confidence. She lived with the character for an entire year. She spoke like Laila, she ate like Laila and she lived like Laila. The dedication speaks for itself and it’s really hard to find such committed artists over here and if last year it was Kangana Ranaut, this year it’s Kalki.
The ‘K’ factor really works for our actresses, if I may say. 😛
MWAS will make you think about the dreams and aspirations of those, whom we tend to ignore sympathetically, as we forget that they’re as normal as we are and you’ll come out of the theatres questioning this ignorance and loving Laila, as well as Shonali Bose, the genius who deserves probably all the credit for this heartening film.
Please go and watch Margarita With A Straw right away, you really won’t regret it.
Simple, effective and an honestly moulded film that effortlessly generates all the basic emotions of life in just about two hours-It makes you laugh, cry and smile at the same time. YRF deserves an applause for standing by this film and supporting the vision without commercialising it.
Dum Laga Ke Haisha (DLKH) takes you back into the era of audio cassettes, Kumar Shanu and libraries. Set in Haridwar, writer-director Sharat Katariya takes us into a completely different yet real world. We’ve all been a part of this world, till globalisation took place and things began to change. It’s nostalgic, it’s relatable and it’s funny.
Prem Prakash Tiwari, played by Ayushmann Khurrana is a 10th fail who handles an audio cassette repair shop. His father (played by the magnificent Sanjay Mishra) really wants to get him married because he knows that his son’s basically a dud and quite aimless in life.
That’s when Sandhya Verma (debutante Bhumi Pednekar) comes into the picture.
Quite the opposite of Prem, she’s a well educated and a strong headed woman. Prem’s forcefully married off to Sandhya, as she could help them sustain by earning more money as a teacher. Prem hates the fact that Sandhya’s obese and how both of them manage to stick by each other, even after innumerable fights and issues, that’s what forms DLKH.
Katariya’s script speaks for itself. His sharply written characters, those relatable moments between the family and especially the dialogues-the best thing about his writing is that he hasn’t added anything just for the heck of it. As an audience, you’ll be laughing and giggling throughout certain moments, irrespective of the mood of that scene and that’s because you’ll probably be reminded of those relatives you always tend to make fun of. (We all do that, come on 😛 )
The cast does wonders to the film. Right from the character artists to the protagonists to the maestros Sanjay Mishra and Seema Pahwa.
Sanjay Mishra, Seema Pahwa and Sheeba Chadha are as brilliant as always and add great value to their characters.
But the film solely belongs to Ayushmann and Bhumi. Their chemistry stays with you. The moments between Prem and Sandhya are so cute at times that you end up aww-ing even during their fight sequences. Ayushmann’s finally given his career best performance and it was so heartening to see that. But the surprise package was Bhumi Pednekar.
She’s so brilliant that it would be hard to think of her as a newcomer because only a mature performer could’ve pulled Sandhya off. Probably assisting a casting director helps and if it does, our actors should go and try that, before coming in front of the camera. 😛
Bhumi’s someone to watch out for.
Technically too, the film is quite flawless. Cinematography, background score, production design and yes, Anu Malik’s music. It’s so good to have him back. His classical rendition voiced by Papon and Monali Thakur: Moh Moh Ke Dhaage is really pleasing to the ears.
Varun Grover’s lyrics compliment the film really well. Overall, everything works.
Dum Laga Ke Haisha is one of the most heartfelt films you’ll see in recent times. There are some unanticipated laughters in the film that are definitely gonna stay with you after you’re out-especially the courtroom scene, a scene where the couple’s making love and Prem’s mother says, ‘Sayana hogaya humra Prem’ and one small fight between Prem and Sandhya, that’s in the form of old Hindi songs.
It’s heartfelt and elating at the same time.
My only problem with the film was, its marketing. They didn’t market the film and that’s really annoying to see because it hasn’t earned the numbers.
So it’s a request, please spare some time and go watch this sweet little masterpiece.
Everybody knows by now that Badlapur is a revenge thriller and it’s meant to be dark, twisted, psychotic and wicked, but amidst all that, a strange metamorphosis takes place and leaves you stumped after the climax. (Ya, but only if you get the symbolism)
Raghu (Varun Dhawan) loses his wife Misha (Yami Gautam) and son during a bank robbery. Misha’s only mistake was that she was present at the wrong place and at the wrong time.
One of the bank robber Harman (Vinay Pathak) escapes with the money, but the murderer Liak (Nawazuddin Siddiqui) gets caught and is convicted for the next 20 years.
But that one incident changed Raghu completely and loneliness struck along with the greed for revenge. The film follows Raghu and Liak for 15 years, what happens after 15 years-does Raghu seek his revenge-what happens to Harman, all the possible questions get answered step by step, leaving you with a nerve-wracking climax.
We hardly get to see dark thrillers in Bollywood and rightly so, such films don’t earn enough money and producers end up losing their bit. But thankfully Badlapur changes that perception. First of all Dinesh Vijan deserves a round of applause for backing this film. It takes a lot to do that, keeping our producers in mind.
Secondly, Sriram Raghavan’s a maestro!
He’s the man behind cults like ‘Ek Hasina Thi’ and ‘Johnny Gaddar,’ and even ‘Agent Vinod,’ which was possibly his weakest. But his comeback film ‘Badlapur’ breaks all those perceptions about Bollywood films being clichéd, lame and baseless.
Raghavan, along with his co-writer Arijit Biswas creates something so stunning that you wish to talk about the minute details over and over again. Yes, the story’s simple-we know who’re involved and where it’s possibly going to go, but there are such unique moments in the film where you’re sitting and wondering, wasn’t this supposed to be serious? What’s wrong with me, why am I smiling at what this evil murderer did or said? The screenplay flows in the first half, but to be honest, yes, the second half is a bit bumpy-no denying. A lot of things could’ve been crisper and steadier, but perfection is something that doesn’t exist.
Raghavan makes up for it with the staggering climax. All in all, Raghavan’s given us this year’s best till now. And yes, he’s made Varun Dhawan act-Double applause.
Talking about the cinematography and editing, I would just say sensational.
Sex scenes always tend to raise eyebrows in our country, but they’ve been captured so beautifully in the film that not even for a moment do they seem to titillate the audience and grab attention. They show tiny bits-they cheat, but the message is conveyed with full conviction. This film is close to a masterpiece because of its technical wonders, including the spectacular background score. For a dark/thriller film to work, you NEED a strong scorer and voila, Badlapur’s bang on. The music is already winning people over, but what I loved was that they’ve used bits of the brilliant compositions in between, without spoiling the moments.
Mukesh Chhabra’s another hidden maestro of Badlapur, as he once again outdoes himself by bringing together effortless yet compelling performers. Justice-fully carved characters, right from Pratima Kazmi, as Liak’s mother to Ashwini Kalsekar, as the detective and Kumud Mishra, as the police officer-all of them play their bits to perfection.
Divya Dutta, Vinay Pathak and the extraordinary Radhika Apte are such accomplished performers that even when they blink or give their cues, they’re as sorted as they are when they’re giving an entire shot. Yami Gautam didn’t have much to do, but she was really likeable. Huma Qureshi doesn’t need compliments anymore. She’s always miraculous, especially when she’s cast opposite Nawazuddin. Varun Dhawan deserves all the acknowledgment in the world for finally showing his acting skills. YES, THIS GUY CAN ACT!
His homework was visible, his hard-work was visible and most of all, his passion to be a part of brilliant cinema was visible. Varun’s a mature actor now, he knows his job finally. Though there were a few misses, but I don’t blame him for that. His voice was a problem. Sometimes, just because of his boyish voice, the impact of some hard-hitting and ill-lit dialogues couldn’t be felt. Nevertheless, he was just about there. A bright future ahead!
Saved the best for the last.
Though Varun’s the hero of the film, though he’s supposed to be the eye candy-who manages to steal the show? No surprises. The legend (Yes, he’s legendary) Nawazuddin Siddique. He’s an institution for actors and I say that with full conviction and confidence.
He’s such a master that whenever you watch him on screen, even if he’s playing a thug/murderer, he’ll bring out something new to his character every single time. This time too, Liak’s crazy, heinous, romantic, witty and softhearted at the same time. Only a Nawazuddin Siddique can understand such complexities and that too, with such ease. A Nawaz show right from the word go. Not to forget, he brings out a lot of humour too.
Revenge may not always be the answer. Revenge may not always lead you to something good. It holds the power to change emotions, change people-from good to bad and bad to good.
Watch Badlapur at any cost.
I was speechless after watching this film and didn’t know how to react. I never thought I’d feel like this after watching a Hindi film because only Christopher Nolan has the capability to make you go into a completely different world-that trance.
Hats Off Arbaaz Khan Productions-Giving a chance to people like Abhishek Dogra and Umashankar Singh would require a lot of courage and conviction, glad to see that you had both.
Keeping all the aspects of filmmaking in mind, here’s what I thought of this gem: STORY & SCREENPLAY:
^I’m wondering how the bound script looked like.
Max to max 3 good dialogues. ^WHY would you do that?
EDITING: ^Enough said.
MUSIC: ^Fashion Khattam-Khattam Mujhpe, lol.
Though there’s one song I really loved and that’s just because of Rahat Fateh Ali Khan’s vocals. A true maestro!
DIRECTION AND PERFORMANCES (EXCLUDING RAJKUMMAR RAO): ^Exactly my reaction!
If you really want to watch this film, watch it solely for this man, he’s the only good part about DKD. And yes, that’s for you Rajkummar^
This star is just for Rajkummar, you deserve much better films.
Richard Linklater’s BoyHood is such an endearing piece of art that you can’t help but praise this film. Shot for over 11 years with the same cast, it seemed like a documentary, even though it wasn’t. It’s a film that could’ve gone either ways, but I suppose the conviction and hard-work was such that it went towards the right direction.
The film itself is like a little baby who transformed in front of my eyes.
Linklater captures all the moments so beautifully that I was completely drawn into Mason’s world and because he gave so much of time to his characters and those little-little moments, he had me all nostalgic.
BoyHood is a piece of everyone’s life. At one point of the film, I started to believe that I know these people who’re in front of me. I know why Mason’s so confused, I know why Olivia (his mother) freaks out so much and what’s her dilemma, I know what’s his sister Samantha’s mind-state when she doesn’t pick her brother up from school. With every moment of the film, I had a certain reaction-I would smile like an idiot when the younger Mason would pursue a lingerie magazine with his friend and chuckle about the pictures or when an irritated young Mason gets a forceful haircut and is made fun of, until a girl from his class tells him that his new hairdo looked ‘kewl,’ and he smiled.
I would laugh looking at the siblings fight and tease each other, but feel for the mother at the same time, as she gets tossed between her two children and a broken marriage. The emotions were relatable, the crux was real and that’s why BoyHood is such an exceptional film. Looking at all those different phases of Mason’s life, I could go back to mine and realise what was wrong /what was right. The marijuana and hook up phase, the falling in love phase, the ‘I’m so confused’ phase and the break-up phase, almost everyone goes through the same thing. But the point is, we’re so engrossed in the future that we forget to live the moment, we forget the beauty of today, the beauty of right now. That’s what Linklater shows, that’s why the film grew on me and I didn’t have appropriate words to describe how I really felt. It was an emotional experience, more than anything else. It was so human.
When he’s leaving for college and refuses to take the first picture he’d clicked, his mother breaks down in distress, realising that time flew by, as both her kids were in college and soon they’d be living their own separate lives. She was petrified by the fact that all these years she lived for her children, she lived the life of a mother and today, when both of them were gone, the next important thing in her life was her funeral. Yes, that’s what time does to you. It was such a tearjerking moment that I had no control over my tears. I felt for my mother, who’s done so much for me and my younger brother, but since we’re so much into the future and always wondering what next, we forget how important and special every moment is. Even though BoyHood is about Mason and his journey to adulthood, it also quite considerately speaks about the struggle of a mother to raise her children.
It’s so beautiful that it pierces through your soul and leaves you mesmeric.
Had to mention this separately: Ellar Coltrane is phenomenal, especially after he enters his teens, he adapted the character to perfection. Mason is Ellar, Ellar is Mason.
Patricia Arquette, as Mason’s mother Olivia catches the nuances so beautifully that all her emotions stayed with me-Love, Confusion and Anguish.
BoyHood might have changed me as a person, though I’m still quite unsure. But the fact that it made me unsure, is enough to tell you what a masterpiece it really is and that too, by a filmmaking virtuoso-Richard Linklater.
To these stupid people who create unnecessary award functions to insult the art of filmmaking,
Stardust Awards 2014: List of some truly ‘deserving’ winners (Pun Intended): Star of the year (Male): Shah Rukh Khan Star of the year (Female): Deepika Padukone Best film: Happy New Year Dream director: Farah Khan (Happy New Year) Film of the year: Gauri Khan (Happy New Year) Breakthrough performance in supporting role (Male): Siddharth Shukla (Humpty Sharma Ki Dulhania) Best supporting actor: Govinda (Kill Dil|) Best actor in a negative role: Sonu Sood (Entertainment) Best Actor for Thriller/Action: Shah Rukh Khan (for Happy New Year) Best playback singer (Male): Yo! Yo! Honey Singh Best music: Yaariyan
We don’t have award functions over here, we have an auction in the name of awards. Why cheat the industry you’re in? Why fool the people who make you what you really are? Why insult cinema just for the sake of money? Agreed, Shah Rukh Khan is one of the biggest superstars we have, but it is high time we realise that over-the-top masala films DON’T deserve any awards. The only thing that’s good about them to a certain extent-The music, cinematography and marketing!
Why fuck with the people who contribute so much to cinema and mesmerise the audience with their work? Deepika Padukone deserved every damn award last year, but for Yeh Jawaani Hai Deewani or probably Goliyon Ki Raasleela: Ram-Leela, she got it for Chennai Express and this year again, for Happy New Year? I mean, seriously? When quite clearly this year it was Kangana Ranaut who stole the hearts of a billion people, be it critics or the audience.
Ok, if she’s not a ‘star’ according to you, then Alia Bhatt deserved every bit of this award, after Kangana. I know you wouldn’t have rewarded her for Highway, which was probably the best performance by a female in a long-long time, but she did have huge commercial hits like 2 States and Humpty Sharma Ki Dulhania in her kitty and those films worked because of her. Then why diss her like that? And Shah Rukh for Happy New Year? Abhishek Bachchan had more screen space in that film and was the only one who was bearable, lol. Shahid Kapoor is a star and undoubtedly, he deserved all the awards this year. Be it-Critics Choice or Audience. Dream director-Farah Khan? She knows shit about filmmaking and on the contrary, she’s a nightmare for aspiring filmmakers like me. This award was Vishal Bhardwaj’s or even Imtiaz Ali. Yes, we ENVY them!
If Happy New Year was the best film of 2014, then what about Queen, Haider, Highway and Aankhon Dekhi? No words, seriously.
Breakthrough performance in a supporting role male-Siddharth Shukla, just because he worked for Colors? That man hardly had three scenes in the film, if this award was probably given to the guys who played Poplu and Shonty in Humpty Sharma, it still would have been believable.They deserved it more than him. I still don’t get the difference between breakthrough performance in a supporting role and best supporting actor, awards hain ya prasad?
Govinda is one of the best actors we’ve had but rewarding him for Kill Dill/Happy Ending really made no sense. He was ignored when he did brilliant films, but when he does a below average film, you tend to acknowledge him. Strange!
The funniest one-Sonu Sood, best villain for Entertainment? I rest my case.
Best actor in an action/thriller film, Shah Rukh Khan, again-Why? Just why?
Wonder why wasn’t Siddharth Malhotra considered.
THE WEIRDEST ONE- YOYO HONEY SINGH? Best singer? Did he cum on your face to get this award? Stupidly ignored this magician called Arijit Singh or even Mohammed Irfan or Ankit Tiwari? And Yaariyan’s music was better than 2 States, Ek Villain and Queen? Really? Hats off.
Quite smartly, to make up for the deserving candidates, these people created various small categories which to be honest didn’t even get much attention, to acknowledge people like Shahid Kapoor, Randeep Hooda, Alia Bhatt, Kangana Ranaut, Tabu, Vikas Bahl and Huma Qureshi. It’s really shameful. Corruption everywhere, money minded people everywhere.
Creative people can never get the respect they deserve, especially in this country. National Awards, please come soon.
-A frustrated aspiring filmmaker and a film enthusiast.
Some films just affect you so much that you’re mentally unable to get out of them and Anurag Kashyap’s UGLY is one such masterpiece.
Kashyap’s known for his crime, drama, neo-noir & psychological thrillers that have changed the dimension of Indian cinema over the past few years. He’s one of the few filmmakers who believe in staying true to their story. Some of his films haven’t seen the light of the day, whereas some have never seen the box office numbers. Even then, this man has never compromised on his scripts. His latest venture UGLY would nauseate you, but at the same time you’ll go home wondering how brilliant a filmmaker Kashyap is. It’s a simple film filled with too many complications and twists along with confusion, guilt, disgust and shock, all thanks to the insecurities and selfish traits of the beings involved in those situations.
Rahul (Rahul Bhat) is an aspiring actor who’s been struggling to make it big since a long time now and in between this journey his marriage broke off. So as per the custody agreement, he’s only allowed to meet his 10-year-old daughter Kali (Anshika Shrivastava) on Saturdays. One fine Saturday, when Rahul and Kali go out to spend some time together, he stops by his casting agent Chaitanya’s (Vineet Kumar Singh) place, to probably grab a script and asks Kali to stay in the car till he’s back, later realising that she’s nowhere to be seen. And the story spreads out.
As soon as this happens, as viewers you’ll try to predict what’s going to happen next, but it’s an Anurag Kashyap film, he’s never going to give you the easy way out. We’re then introduced to a number of characters who are equally important till the very end. Shalini (Tejaswini Kolhapure), Rahul’s ex wife and Kali’s mother, followed by Shoumik Bose (Ronit Roy), Shalini’s second husband and Rahul’s rival from college. Siddhant (Siddhant Kapoor), Shalini’s useless brother and inspector Jadhav (Girish Kulkarni), who rather than lodging a complaint of a missing child was more interested in knowing why actors changed their names to come into the industry or how Kali’s phone showed Rahul’s picture whenever he called her up. As the search begins and characters begin to unfold with the help of flashbacks, you won’t be able to predict who did what and how it’s just a vicious circle in the end.
Almost everything is perfect about this film, but the first applaud would undoubtedly go to Mr.Kashyap for once again creating something like this. I still can’t believe he wrote this in seven days-what a genius. It’s actually commendable to see him implement his writing with this perfection. Right from suspense to dark humour to the nerve-wracking end, he’s hit the right chord every single time. The camerawork is impressive, the background score by Brian McOmber is breathtaking and Aarti Bajaj’s brainy editing too deserves great accolades. UGLY wouldn’t have been ‘THIS’ effective, if the casting wouldn’t have been perfect. And once again, Mukesh Chhabra’s bang on. From Anshika Shrivastava, the 10-year-old daughter to the sub inspectors, Chhabra has done wonders. Rahul Bhat, Tejaswini Kolhapure, Ronit Roy, Vineet Singh and Girish Kulkarni compliment the script so well that you can’t even imagine anyone else in this film apart from them. It would seem like a documentary if you wouldn’t know it’s a feature film, they’re that intriguing and good. They’ve all been given their screen-space and they’ve all got their moments in which they’ve excelled.
There are a few scenes where you’ll laugh your guts out and that’s because of the brilliance of the actors. Those scenes wouldn’t have been funny if the pitching of the actors wouldn’t have been spot on. Highlight: A scene where Kulkarni croons verses of an item song and the way Roy responds to that-with a straight face, that’s sheer timing and that’s exactly what brings out the humour.
Overall, UGLY is not entirely about the kidnap, it’s about the ugliness present within people and how insensitive, ignorant, inhuman and disgusting they’ve become.
There are moments in the film where you’ll wonder what’s going on and you’ll be flooded with questions like:
Why isn’t this girl’s mother worried about her daughter? Why the hell is she thinking about her marital life right now? Why did this girl’s Mama (Uncle) make a ransom call? Did he kidnap her? Why is her biological father busy sleeping with this other woman (Rakhee, played by Suvreen Chawla), who’s also making a ransom call?
Why is this Rahul busy worrying about his face rather than being worried about his fucking daughter?
Everything’s going to confuse you till the very end-you’ll presume and try to guess who the kidnapper was, but you won’t be able to do that because the end is heartbreaking and grievous. It’ll make everyone realise, how ignoring your responsibilities and your own children can be a big threat. Though there are a few dull moments in the film, including Surveen Chawla’s character line , Siddhant Kapoor’s angle and the jewellery shop robbery, but the end’s going to tremble your heart and you’ll go home questioning yourself-
How sometimes we become so selfish that we tend to let go off the most important things in life, even though it’s nowhere related to us. This is Anurag Kashyap’s best since ‘BlackFriday,’ watch it at any cost, it’s a mirror for all of us.
Lastly, this one song called ‘Papa‘ sung by Shilpa Rao will move you to tears and especially because of the visuals(Film version)-Goosebumps.
Illogical, yet real-Stupid, yet funny-Controversial, yet emotional-Over the top, yet relatable: That’s Rajkumar Hirani’s PK for you!
We currently have a lot of filmmakers in our country, out of which some are brilliant, some are not. And over the past few years, the cinematic sense of our country has finally evolved and people now really want to watch something different and sensible.
(That’s what most of them say)
*Clears The Throat*
But they still don’t go and watch films like Udaan, Ankhon Dekhi, Filmistaan and Haider.
Luckily for us, we have a filmmaker like Rajkumar Hirani, whose films give us the required commercialism and at the same time, he either teaches us about humanity or helps us understand certain existing prejudices. And with his fourth film ‘PK,’ he’s done it again.
Aamir Khan’s playing an alien in the film and everyone knows that by now, but for me PK wasn’t an alien. He was an innocent kid, probably a 5-6 year old-who unknowingly questioned our people, our society, our religion and our hypocrisy.
-HOW DARE HE!
Well, that’s how people would react if someone did that in real life and that’s exactly what PK talks about. It doesn’t question God or its existence, it questions the way we look at life, it questions the way we let other things overpower our lives.
PK’s being compared to the Paresh Rawal starrer ‘Oh My God,’ but let me tell you, there’s a small difference between the two. In OMG, Paresh Rawal played an atheist and questioned everything like an atheist. Here, this man is totally confused. He’s like an orphan who’s searching for a religion because he needs help. Someone stole his important property and when he asked so many people for help, they just told him to take help from God. He probably thought God runs a charitable trust and loves helping people. And so the search began.
But the poor lad didn’t know that there were different Gods for different religions, different costumes for different religions and different set of rules for different religions.
But people told him there’s just one God. Then why do we have a Mandir for Hindus, Church for Christians and Mosque for Muslims? And why can’t we take coconut inside a Church and wine inside a Mosque? Plus, if we’re all God’s children, why do we have to bribe him? PK really wants to know. Sadly, nobody has an answer.
And why’s that? Because we’ve just been brought up like that. You don’t cross question.
PK strikes the right chords because of its impeccably sharp writing for which the credit goes to Rajkumar Hirani and Abhijat Joshi, as they use humour (their most powerful weapon) to express the unspoken and the best part about their humour is that it’s situational and natural, not forced. There are so many humorous scenes that’ll make you laugh your guts out, but if you look at them carefully, you’ll realise the importance of those scenes, you’ll realise what’s wrong with the people over here.
For instance: The entire Gandhiji section-it just makes you realise that this man is important because his picture is on the banknotes. Otherwise, no one really cares about him or his pictures.
The condom section-that highlighted the cowardliness of our fellow countrymen. I’m sure it made everyone laugh, but if we look at it carefully, it spoke a lot about the hypocrisy that exists. Sex is still a taboo here.
Dialogues are another high, especially Aamir Khan’s dialogues, as the questions asked by his character are too hard-hitting, impactful, hilarious and true at the same time. There’s a beautiful dialogue in the film which rightly explains that people over here are too conscious to talk about sex, but at the same time violence in public is acceptable.
But seriously, according to the Hindu funeral, we’re supposed to wear white and according to the Christian funeral we’re supposed to wear black, but the Christian brides are supposed to wear white. THIS IS SO CONFUSING, totally opposite! Hirani has noticed something really strange, strangely sensible.
The cinematography is brilliant throughout the film and a few shots deserve a special mention. The ones showing religious beliefs and rituals, where people keep rolling in front of God, as per the Hindu traditions and the Muharram montage-It’s disturbing to see, but C.K. Muraleedharan’s captured it gorgeously. Even the opening sequence where we see PK for the first time, it’s quite nicely shot.
Music is decent, not as good as Munnbhai, Lage Raho or 3 idiots, but it blends well. Bhagwan Kahan Re Tu stands out, even because of the way it’s been used. Sonu Nigam’s always perfect, isn’t he? The background score compliments the film really well, but the screenplay is a little bumpy. The first half was crisp and smooth, whereas the second half was a bit stretched and could’ve been way better.
Mukesh Chhabra has once again nailed it with the casting. Right from Anushka Sharma (Jaggu), Sushant Singh Rajput (Sarfaraz), Saurabh Shukla (Tapasvi Maharaj) and Boman Irani (Jaggu’s Boss).
Anushka was vibrant and confident, but Sanjay Dutt, as Bhairon Singh really stood out for me, even though it was a small role. Watching him on screen was a treat.
But this film wouldn’t have been half as good, if Aamir Khan wasn’t PK. He has delivered his career best performance and there’s no doubt about that. From his clothes to his diction, his face to his eyes, his body language to his cues. He was always right there. No one could’ve played PK better than him. He makes you laugh and cry at the same time. He’ll make you fall in love with PK and tukur tukur toh dekhna padega hee sasura. 😛
Overall, PK is not Hirani’s best, probably because of some over-dramatisation in the second half and some really illogical stuff, but it’s still one of the better films of 2014. And yes, the people of Earth taught PK how to lie. Hirani’s captured all the existing nasty traits of human beings and placed them with brilliance. As a wannabe filmmaker myself, if I ever get a chance to meet this genius, I’d just grab his hand and try to ‘tiranspher’ his ideas and talent. Haha, jokes apart-Rajkumar Hirani and Aamir Khan are a blessing to Indian cinema. Ye wrong number nahin, right number hai boss.
Almost a month back, as New India Films we’d made a small children’s day tribute music video and while filming it we’d captured the children of Delhi. Captured their innocence, captured their selfless smiles. From the educated lot to the ones selling flowers on the road, captured them all.
Class, perception and cruelty that exists in this world probably makes them different from one another, but to be honest, there isn’t any real difference. They were all the same. They didn’t know the difference between right or wrong, they weren’t stressed about tomorrow, they didn’t care about religion: They were all living the moment, they were all children.
What happened in Pakistan has devastated the world and everyone is writing about it on social media. But we live in a society which is sadly too numb today. Some would ‘genuinely’ express their feelings, but on the other hand, some would do it to be a part of the majority. Some wouldn’t write or express at all because they feel it’s too overrated. And some would curse the ones who are voicing their opinions because they wish to judge your opinions. Yes, that’s what’s happening. The world’s just going down, day by day, second by second.
With each passing moment, filth’s taking over and who’s to be blamed for that? Probably human beings, the beings who are old enough to decide for themselves. Hypocrisy, forming opinions, cribbing, teasing, shouting, abusing, fighting, hitting and what not? That’s the basic routine of almost every individual. It’s not always intentional, but it’s equally harmful. This leads to something big, this leads to something heinous. This creates negativity and negativity creates brainless and heartless living beings who are later known as terrorists.
It all starts with something really small and these basic day to day traits, we don’t realise it, but they are dangerous, they really are. That’s exactly why children are special. That’s exactly why they’re out of this world. They don’t have the time for negativity, they don’t have the time for filth. They enjoy every moment, they chase their dreams. That’s exactly why my heart sank after getting to know about the Peshawar attack. At least for now, what can I possibly do? Should I just sit and wait for something to happen and let this ugliness take charge? Should I just forget about what happened, go out and have some amazing food, meet friends and party? For some people this really might be the case, as expressing yourself on social media might be a sin and uncool, but for people like me, it really doesn’t work that way.
No matter how much I try-pictures of those little angels, claims made by those inhuman monsters and this never-ending fight over religion, it’s just impossible to ignore.
Almost three decades since John Lennon gave us ‘Imagine,’ but nothing has changed, as his words still fit in perfectly and make total sense. I really wish people understood that song, I really wish people understood his words. The world would be a better place, the world would be beautiful-only if we could change ourselves first and get rid of these petty-petty insecurities and negativity. As I sum this up abruptly, I’d like to share the music video we’d made-In the memory of those little angels, in the memory of those dreams, dreams that got shattered by some cowards, cowards who kill in the name of God.
“Imagine there’s no countries
It isn’t hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace…”